The Baroque Style (Transcriptions for 8-string guitar)

On this CD:

1. Villanos in A Major
Composed by Gaspar Sanz
Performed by Andrew Schulman

2. Españoletta
Composed by Gaspar Sanz
Performed by Andrew Schulman

3. La Cavalleria de Napoles con dos Clarines in D Major
Composed by Gaspar Sanz
Performed by Andrew Schulman

4. Canarios
Composed by Gaspar Sanz
Performed by Andrew Schulman

5. Sonata, for violin & continuo No. 5 in E minor (Sonatae Violino Solo No. 5), C. 142
Composed by Heinrich Ignaz Franz von Biber
Performed by Andrew Schulman

6. Variations on a Theme by Handel for guitar in A, Op 107
Composed by Mauro Giuliani
Performed by Andrew Schulman

7. Fantasy in D minor
Composed by Sylvius Leopold Weiss
Performed by Andrew Schulman

8. Tombeau sur la mort de Momsieur Cajetan Baron D'Hartig
Composed by Sylvius Leopold Weiss
Performed by Andrew Schulman

9. Sonata for keyboard in A major, K. 322 (L. 483)
Composed by Domenico Scarlatti
Performed by Andrew Schulman

10. Sonata for keyboard in A major, K. 323 (L. 95)
Composed by Domenico Scarlatti
Performed by Andrew Schulman

11. Sonata for keyboard in D minor, K. 32 (L. 423)
Composed by Domenico Scarlatti
Performed by Andrew Schulman

12. Sonata for keyboard in C minor, K. 11 (L. 352)
Composed by Domenico Scarlatti
Performed by Andrew Schulman

13. Sonata for keyboard in E major, K. 380 (L. 23) "Cortège"
Composed by Domenico Scarlatti
Performed by Andrew Schulman

14. Prelude, Fugue and Allegro for lute (or keyboard) in E flat major, BWV 998
Composed by Johann Sebastian Bach
Performed by Andrew Schulman

15. Partita for lute in E major, BWV 1006a
Composed by Johann Sebastian Bach
Performed by Andrew Schulman

16. Prelude for lute in C minor, BWV 999
Composed by Johann Sebastian Bach
Performed by Andrew Schulman

17. Fugue for lute in G minor, BWV 1000
Composed by Johann Sebastian Bach
Performed by Andrew Schulman

Tracks:

Fugue From Violin Sonata No. 1, BWV 1001 - J S Bach
Estudio brillante
Etude No. 1 In E Minor
Recuerdos de la Alhambra
Leyenda
Romance
Rumores de la Caleta
Capricho Arabe
Cantata 147: Jesu, Joy Of Man's Desiring
Well-Tempered Clavier: Prelude No. 1
Well-Tempered Clavier: Prelude No. 6
Cantata 140: Sleepers Awake
Prelude, Fugue, And Allegro: Allegro
Cantata 208: Sheep May Safely Graze
Les Barricades mysterieuses
Preambulo & Allegro vivo: Preambulo And Allegro vivo
Passacaglia
The Girl With The Flaxen Hair
Gymnopedie No. 1
Empress Of The Pagodas
Afro-Cuban Lullaby

Tracks:

Fourth Lute Suite: Praludium
Fairest Lord Jesus
Praise Ye The Lord, K. 339
Simple Gifts
Hymn Of Christian Joy
Cantata 29: We Thank Thee, Lord
Cantata 156: Arioso
Cantata 99: What God Hath Done
Canon
Dolly Suite: Berceuse
La Vida breve: Spanish Dance No. 1
Terezinha De Jesus
Prelude (In The Baroque Style)
Goyescas: Intermezzo
Prelude & Fugue No. 4 In E: Fugue
Evening Dance
Variations On A Theme Of Mozart
Canarlos
La Maja de Goya
El Noi de la Mare
Concierto de Aranjuez: Adagio - J. Rodrigo

Customer Reviews:

Excellent recording.......2007-05-12

If you are a fan of classical guitar than this is a must own set. I enjoy every moment.

Highly Recommended!.......2006-12-23

I would recommend this CD to anyone who loves music--period! Christopher Parkening is unquestionably one of the greatest classical guitarists of all-time. He embodies personal excellence like no other and is a brilliant artist. This CD is a must-have for any classical enthusiast. My favorite pieces include: Tárrega's "Recuerdos de la Alhambra," "Romance," Bach's "Prelude No. 6," and Rodrigo's "Concierto de Aranjuez." There are other versions of these pieces as well, but I always prefer Parkening's renditions, as they are oh so extraordinary--especially the recording of Aranjuez!! Other guitarists never seem to capture the essence of Rodrigo's musical masterpiece (e.g., Göran Söllescher in "Mad About Guitars"). But Parkening did! And the Royal Philharmonic Orchestra was a perfect accompaniment.

This CD is definitely worth buying. Included is a CD booklet, which illustrates the history of Parkening's illustrious career, interesting tidbits about all 25 recorded pieces, and several photos of his early life to his "breathtaking performance" at Rodrigo's 90th birthday celebration at the Royal Festival Hall in London, 1992.

Amazing.......2006-05-08

I am not going to go into great detail. I am working on a degree in classical guitar and I can say this is something to strive for. His musical interpretation of the peices represented here are some of the best I've heard. His tone,color, and phrasing is incredible.

A gentleman musical agreement! .......2006-03-16

In guitar ` s playing there have been many renowned performers, gifted of exuberant technique. But curiously the Apollonian playing is not by itself strictly enough. The guitar is the instrument which is closer to heart as any other one. It demands from you passion and sentiment. There have been three well known guitarists, one of them from England and the other one from Spain and the third one from Japan whose sensibility was totally absent in their performances.

But fortunately for us, there have been notable interpreters that have been maintained a desired balance and contrast between brain and heart, achieving great distinction and total acknowledgement around the world. I would name seven primordial names along the instrument `s story. First of all: the mythic soloist Andres Segovia, Regino Sainz de la Maza, John Williams, Alirio Diaz, Manuel Berrueco, Siegfried Behrend and Christopher Parkening, among the most representative ones of a great list.

Christopher Parkening `s career has made a brilliant colorist, an impeccable and sensitive interpreter of this well reduced repertoire. His profound artistic conviction and convincing phrasing has been a perpetual motive of constant invitations and presentations around the world.

Extreme virtuosity.......2005-09-25

CP has become my chief inspiration to improve as a classical guitarist. His performances here are, without exception, phenomenal. He makes the most difficult pieces sound effortless. I prefer CP over John Williams because, while Williams is also unquestionably a master, he sounds a bit robotic to me at times. CP, on the other hand, never sacrifices musicality to precision. He sublimely maintains both.

Average customer rating:

For Gould's fans
Be warned there are shortcomings, but also be prepared for brilliance!
An universal patrimony !
Perfection
BWV 974

Glenn Gould Plays Bach & Scarlatti

Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

Fantasies | Forms & Genres | Classical | Styles | Music

Fugues | Forms & Genres | Classical | Styles | Music

General | Classical | Styles | Music

Classical Music | The Sony BMG Masterworks Store | Amazon.com Label Stores | Stores | Music

Classical Instrumental Music | The Sony BMG Masterworks Store | Amazon.com Label Stores | Stores | Music
Similar Items:

Glenn Gould Edition: Schumann & Brahms
Gould Meets Menuhin
Consort of Musicke by William Byrd & Orlando Gibbons; Sweelinck: Fantasia in D (The Glenn Gould Edition)
Glenn Gould Edition: Berg, Krenek, Webern, Debussy & Ravel
The Glenn Gould Edition - Bach: The Well-Tempered Clavier, Book II

ASIN: B0000028NP
Release Date: 1997-02-25

Tracks:

Concerto In D Minor After Alessandro Marcello, BWV 974: I. Without Tempo Indication
Concerto In D Minor After Alessandro Marcello, BWV 974: II. Adagio
Concerto In D Minor After Alessandro Marcello, BWV 974: III. Presto
Fugue In B Minor On A Theme By Tomaso Albinoni, BWV 951
Fugue In A Major On A Theme By Tomaso Albinoni, BWV 950
Sonata In D Major, K. 430 (L.463): Non presto ma a tempo di ballo
Sonata In D Minor, K. 9 (L. 413): Allegro
Sonata In G Major, K. 13 (L. 486): Presto
Sonata In A Minor 'Wurttembergische Sonate': I. Moderato
Sonata In A Minor 'Wurttembergische Sonate': II. Andante
Sonata In A Minor 'Wurttembergische Sonate': III. Allegro assai
'Aria variata alla maniera italiana' In A Minor, BWV 989
'Italian Concerto' In F Major, BWV 971': I. Without Tempo Indication
'Italian Concerto' In F Major, BWV 971': II. Andante
'Italian Concerto' In F Major, BWV 971': III. Presto
Chromatic Fantasy In D Minor, BWV 903
Fantasy In G Minor, BWV 917
Fantasy In C Minor, BWV 919
Fantasy (And Fugue) In C Minor, BWV 906

Customer Reviews:

For Gould's fans.......2007-01-10

Glenn Gould was a great Bach interpreter. On this CD there are some less known recordings of Bach' music, like the transcription of Marcello's Oboe concerto. I boght this CD because of this piece, that is very beautiful and well played by Gould. The other pieces recorded here are not as good, including the Italian Concerto. But it is interesting for Gould's fans.

Be warned there are shortcomings, but also be prepared for brilliance!.......2006-05-03

There are some shortcomings to this album and they are pointed out by other reviewers. However, there are gems present here that continue to dazzle long after Glenn Gould's untimely death.

I was particularly moved by BWV 974, especially the second movement. I would happily pay the entire price of this album just to have this particular recording.

As everyone knows, Glenn Gould was eccentric and some of his interpretations of Bach are very unconventional. However, his intensity jumps out at the listener and he is often as dazzling as he is eccentric.

Considering that much of this music was not recorded on piano very often before Glenn Gould came around, I have to acknowledge his contribution to grabbing people's attention. He still continues to do this long after his death, which I think is a testimony to his brilliance.

If you are not a Glenn Gould fan or you are looking for more standard interpretations, this may not be for you. However, if you are looking for a fascinating musical odyssey that is at times quite unconventional, then you might be very happy with this album.

You can certainly get a feel for the music from the samples above. If you listen to them and are still intrigued, I don't think you will be disappointed even with the Chromatic Fantasy. It's an unusual interpretation, but what can you expect from guy who wears winter gloves on the cover of the album and didn't even want to record this piece in the first place - EVER!

An universal patrimony !.......2006-04-12

The huge and significant loss that for the musical world represented the disappearance of Glenn Gould resides in the simple fact that even twenty four years after his sensible departure, there has not been another pianist able to fill his place. His legacy seems to enhance proportionally through the years. His powerful cantabile line, his profound conviction still deserves him this status ?clat, that certainly have guaranteed a well wrought name in the immortality.

This enraptured anima state is not a mere product of the casualty or a mass media phenomena; he restored to music that divine majesty, sensitive effluvium and introspective gaze, far away from the delirious crowds, deeply focused on the meaning of the sound, and not in the beauty of the sound.

That `s why his legend has been increasing, in spite of his well known aversion to the advertising flashes. He never cultivated the public relationships, but the elevated rank of his musical partners, such Yehudi Menuhin, Jaime Laredo, Leonard Rose, Leonard Bernstein, Vladimir Golschman would seem to confirm that far beyond his countless irreverent behavior, his musical heritage eclipses all the previous misbehaved statements, opinions or his well commented and questioned attitude in the sense of deny to make future public appearances since 1964.

Perfection.......2005-08-02

There neither is, nor has been (am may likley never be), anyone who can interpret Bach like Glenn Gould.

BWV 974.......2001-10-18

When you look at the pieces that are in this CD, you might think that these were leftovers. Yet, this CD has one of the most stunning pieces that I think Glenn Gould has ever recorded.

The Concerto in d after A. Marcello, BWV 974 is not one of Bach's more popular and well-known keyboard works. Yet in the hands of Glenn Gould, it is played with a sincerity that is completely profound. Listening to the second movement of this "concerto" has to be one of the moving experiences that I ever had. It is undoubtedly one of the best in the Glenn Gould discography.

Also, after hearing the three Scarlatti sonatas, you'll wonder why he didn't record more of them. It's played with a childish glee that is a joy to listen to. The L. 413 sonata is piece that you'll listen to repeatedly.

Alas, the "infamous" version of the Chromatic Fantasy is in this CD as well. It's not a horrible interpretation like what most people tend to say, but you wonder what in the world Glenn Gould was doing with his left hand.

Tracks:

Beatles Con Grosso No.1 (In The Style Of Handel): She Loves You - A Tempo Giusto
Beatles Con Grosso No.1 (In The Style Of Handel): Lady Madonna - Allegro
Beatles Con Grosso No.1 (In The Style Of Handel): Fool On The Hill - Adagio
Beatles Con Grosso No.1 (In The Style Of Handel): Honey Pie - Allegro
Beatles Con Grosso No.1 (In The Style Of Handel): Penny Lane - Allegro
Beatles Con Grosso No.2 (In The Style Of Vivaldi): A Hard Day's Night
Beatles Con Grosso No.2 (In The Style Of Vivaldi): Girl
Beatles Con Grosso No.2 (In The Style Of Vivaldi): And I Love Her
Beatles Con Grosso No.2 (In The Style Of Vivaldi): Paperback Writer
Beatles Con Grosso No.2 (In The Style Of Vivaldi): Help
Beatles Con Grosso No.3 (In The Style Of J.S. Bach): The Long And Winding Road - Ov
Beatles Con Grosso No.3 (In The Style Of J.S. Bach): Eight Days A Week - Rondeau
Beatles Con Grosso No.3 (In The Style Of J.S. Bach): She's Leaving Home - Sarabande
Beatles Con Grosso No.3 (In The Style Of J.S. Bach): We Can Work It Out - Bourree
Beatles Con Grosso No.3 (In The Style Of J.S. Bach): Hey Jude - Polonaise
Beatles Con Grosso No.3 (In The Style Of J.S. Bach): Yellow Submarine
Beatles Con Grosso No.4: Here Comes The Sun
Beatles Con Grosso No.4: Michelle
Beatles Con Grosso No.4: Goodnight
Beatles Con Grosso No.4: Carry That Weight

Customer Reviews:

Beatles meet Baroque - but the best of both is lost in the process.......2007-01-07

I'm a great fan of transcriptions of old warhorses - new wine in old bottles, or a new seasoning for an old dish eaten to satiation. Besides the inevitable synthesizer reworkings of Wendy Carlos and Don Dorsey, I have wonderful recordings of Vivaldi's Four Seasons for brass ensemble, recorder quartet and as improbable as Japanese traditional harp (koto) ensemble, as well as of Bach's Goldbergs for synthesizer, accordion, organ, guitar(s), brass ensemble, string trio, string orchestra, saxophone quartet, to which you might add Jacque Loussier's and John Lewis' respective jazz versions, and Robin Holloway's recomposition for two pianos - I'm still missing the one for two cymbalums and the one for handbells, but just wait.

And, as everybody else, I am fond of the Beatles. They knew how to write a good tune.

So I was a natural candidate for this "Beatles Go Baroque", which I snatched upon in first publication, back in the mid 90s. I find it disappointing, though. What you get is neither the best of baroque nor the best of the Beatles. The baroque you get is reminiscent of how it was played in the 60s and early 70s by ensembles such as the Jean-François Paillard Orchestra or the Stuttgart Chamber Ensemble led by Karl Ristenpart, rather than of Hogwood's Academy of Ancient Music, Pinnock's English Concert, let alone Il Giardino Armonico or Fabio Biondi's Europa Galante: square, a bit straitlaced, not very lively and dynamic. And some of the arrangements by Peter Breiner sound not so much baroque as like the easy-listening, slightly lachrymose lounge jazz that might go with the singing of Frank Sinatra (try track 13). Breiner is at his best when he composes fugues, like the one on Honey Pie (Track 4) or Michelle (Track 18), but overall I don't think he lives up very well to the challenge of how would have Handel, Bach and Vivaldi composed it, had they been given a tune by the Beatles. And his orchestration limited to strings, harpsichord and flute (in Bach, no doubt in imitation of the second orchestral suite/overture) doesn't help bring much color, either.

And as for the Beatles, many of the most famous standards are missing, and you get too much obscure and (to my ears) undistinguished stuff from the early years. Actually I find myself very much in agreement with the precise and thorough analysis of Neat-o - but for those very same reasons I rate it only two-stars. Ultimately, I'm afraid this release is unlikely to appeal either to amateurs of baroque music or to fans of the Beatles. Those looking for agreeable, undemanding easy-listening with vague Baroque and Beatles reminiscences might enjoy it. But for good Beatles transcriptions, I'd recommend instead the Canadian Brass (a disc called "All You Need Is Love" on Bmg/Rca) and the King's Singers Beatles' collection (EMI). They are just transcriptions of the Beatles' songs, they don't make any pretence at mixing two musical universes that are hardly compatible - and so much for the better.

A WELL ESTABLISHED TRADITION.......2004-04-30

The Beatles had hardly been going for 5 minutes before the Liverpool chamber group led by Fritz Speigl decided to put out a Baroque piece called "Eine Kleine Beatlesmusik" plus another called "The Beatlecracker Suite" and this was before the Americans had a go via Joshua Rifkins's "Baroque Beatles Book" on the Nonesuch label (which included the "Last Night I said..." Canata.
Fact is if you plough through the Goldberg Variations of Bach you will discover one that plays the first 6 notes of "She loves you" in exactly the same rhythm!!!

Meh.......2003-02-01

I listened to the samples online and it sounded intriguing. But the actual album is kind of bland. It has none of the pop of the Beatles themselves. Good generic classical music, though.

Neat-o.......2002-11-11

*Beatles Go Baroque* is a playful CD, in the same category as the *Christmas Goes Baroque* series produced by the same people. Although the music on this disc is more than mere orchestral arrangements of Beatles tunes, it's not in any way a serious study of baroque style. It is much more a play with polyphonic texture. The forms are not strict--no strict fugues, canons, ritornelli, etc. In other words, this disc is not a cerebral "Let's see how Bach would have handled 'Michelle' as a three-part canon with a free bass" type of study--it is, after all, categorized as "Light Classics." It would be quite a feat, however, to spin some of these songs into full-scale concerti grossi, for the Beatles tunes do not seem to lend themselves very well to baroque treatments. If you were to play this disc to someone who's never heard of the Beatles but who knows classical music (not sure where to find someone like that), he would not mistaken these works for true baroque compositions. While Peter Breiner has made some ingenius amalgamations (for instance, you think you're about to hear the Bourrée from Bach's second Overture, and suddenly "We can Work It Out" turns up), he's also made quite a few stylistic compromises in his transformation of the Beatles songs. The play on Handel and Vivaldi do not work quite so well. The always recognizable Vivaldi harmonic and virtuosic flair seems to have been lost for the most part, with the exception of a vague resemblance of the "Spring" concerto for three of its movements, most recognizably the middle movement for "And I Love Her." The style of Handel seems to be playing off of parts of "Alexander's Feast" concerto, but not very strongly. Breiner seems to be most comfortable when writing without a particular composer's style in mind, such as with the fourth concerto grosso (although the notes mention it could be interpreted as Corelli's). The Bachian concerto, however, is recognizably Bach because it is almost a movement-by-movement translation of not a concerto but Bach's Overture no. 2. "She's Leaving Home," done in the style of a sarabande as one of the movements, is a beautiful, poignant work by itself. In fact, many of these pieces could by themselves be musically elegant and charming without the gimmick of Beatles tunes done in eighteenth century fashion. But while the four so-called concerti grossi here are a curious listen for both Beatles fans and baroque music fans alike, with the baroque style watered down, Beatles fans will probably get more out of hearing Beatles tunes put through the contrapuntal exercise. Serious baroque fans will just have to make do with light fun.

A unique Beatles interpretation.......2001-02-28

This is the CD for serious listeners of classical music AND serious listeners of the Beatles. Where pops orchestras have failed, Peter Breiner succeeds. His arrangements of Beatles songs, rather than being simply rock band transcriptions for orchestra, are more like unique compositions based on Beatles themes.

Don't let the "looseness" of these arrangements scare you off, however. They are a good exercise for the ear -- can YOU pick out the melody among the busy melodic textures that are integral to Baroque music? With some pieces it's easier than others. The CD kicks off with an jaunty rendition of "She Loves You" that defies all other interpretations of it, orchestral or otherwise. From this point on you know you're in for a very different sort of Beatles trip.

The songs are wisely divided between fast and slow movements -- all of them being a treat for the ear. Among the best fast movements are robust renditions of "Help," "Lady Madonna," and a witty "Yellow Submarine." On the slow end of the spectrum, "And I Love Her" is supremely beautiful on violin, and "The Long and Winding Road" comes out so elegantly that it puts the original version of the song to shame. However, the cleverest track on the album has to be "Michelle." Taking the main theme of the song, Peter Breiner's orchestra creates a perfect FOUR-PART COUNTERPOINT! Of course, this technical term means little to most listeners, but it basically means that you have to hear "Michelle" to believe it.

Tracks:

Applicato In C Major, BWV 994 - Rosalyn Tureck
Chorale: Joy & Peace, BWV 512 - Rosalyn Tureck
Musette In D Major, BWV Anh. 126 - Rosalyn Tureck
Minuet In G Major, BWV Anh. 116 - Rosalyn Tureck
Minuet In G Major, BWV Anh. 115 - Rosalyn Tureck
March In DM Major, BWV Anh. 122 - Rosalyn Tureck
March In E-Flat Major, BWV Anh. 127 - Rosalyn Tureck
Polonaise In F Major, BWV Anh. 117a - Rosalyn Tureck
Invention In C Major, BWV 772a (1723 Version) - Rosalyn Tureck
Invention In C Major, BWV 772 (1720 Version) - Rosalyn Tureck
Fantasia In G Minor, BWV 917 - Rosalyn Tureck
Prelude And Fugue In A Minor, BWV 895: Prelude - Rosalyn Tureck
Prelude And Fugue In A Minor, BWV 895: Fugue - Rosalyn Tureck
Suite In F Minor, BWV 823 (Incomplete): I. Prelude - Rosalyn Tureck
Suite In F Minor, BWV 823 (Incomplete): II. Sarabande - Rosalyn Tureck
Suite In F Minor, BWV 823 (Incomplete): III. Gigue - Rosalyn Tureck
Aria And Ten Variations In The Italian Style: Aria - Rosalyn Tureck
Aria And Ten Variations In The Italian Style: Variation I - Rosalyn Tureck
Aria And Ten Variations In The Italian Style: Variation II - Rosalyn Tureck
Aria And Ten Variations In The Italian Style: Variation III - Rosalyn Tureck
Aria And Ten Variations In The Italian Style: Variation IV - Rosalyn Tureck
Aria And Ten Variations In The Italian Style: Variation V - Rosalyn Tureck
Aria And Ten Variations In The Italian Style: Variation VI - Rosalyn Tureck
Aria And Ten Variations In The Italian Style: Variation VII - Rosalyn Tureck
Aria And Ten Variations In The Italian Style: Variation VIII - Rosalyn Tureck
Aria And Ten Variations In The Italian Style: Variation IX - Rosalyn Tureck
Aria And Ten Variations In The Italian Style: Variation X - Rosalyn Tureck
Suite In A Major, BWV 824: I. Allemande - Rosalyn Tureck
Suite In A Major, BWV 824: II. Courante - Rosalyn Tureck
Suite In A Major, BWV 824: III. Gigue - Rosalyn Tureck
Italian Concerto In F Major, BWV 971: I: ( ) - Rosalyn Tureck
Italian Concerto In F Major, BWV 971: II. Andante - Rosalyn Tureck
Italian Concerto In F Major, BWV 971: III. Presto - Rosalyn Tureck

Tracks:

The Art Of The Fugue, BWV 1080: Contrapunctus I - Charles Rosen
The Art Of The Fugue, BWV 1080: Contrapunctus III - Charles Rosen
The Art Of The Fugue, BWV 1080: Contrapunctus II - Charles Rosen
The Art Of The Fugue, BWV 1080: Contrapunctus IV - Charles Rosen
The Art Of The Fugue, BWV 1080: Contrapunctus V - Charles Rosen
The Art Of The Fugue, BWV 1080: Contrapunctus VI in Stile francese - Charles Rosen
The Art Of The Fugue, BWV 1080: Contrapunctus VII per Augmentationem et Diminutionem - Charles Rosen
The Art Of The Fugue, BWV 1080: Contrapunctus X alla Decima - Charles Rosen
The Art Of The Fugue, BWV 1080: Contrapunctus IX alla Duodecima - Charles Rosen
The Art Of The Fugue, BWV 1080: Contrapunctus VIII a 3 - Charles Rosen
The Art Of The Fugue, BWV 1080: Contrapunctus XI - Charles Rosen
The Art Of The Fugue, BWV 1080: Contrapunctus XIII a 3 inversus - Charles Rosen
The Art Of The Fugue, BWV 1080: Contrapunctus XIII a 3 rectus - Charles Rosen
The Art Of The Fugue, BWV 1080: Contrapunctus XII a 4 rectus - Charles Rosen
The Art Of The Fugue, BWV 1080: Contrapunctus XII a 4 inversus - Charles Rosen
The Art Of The Fugue, BWV 1080: Canon in Hypodiapason (Canon alla Ottava) - Charles Rosen
The Art Of The Fugue, BWV 1080: Canon (in Hypodiatessaron) per Augmentationem in Contrario Motu - Charles Rosen
The Art Of The Fugue, BWV 1080: Canon alla Decima in Contrapunto alla Terza - Charles Rosen
The Art Of The Fugue, BWV 1080: Canon alla Duodecima in Contrapunto alla Quinta - Charles Rosen
The Art Of The Fugue, BWV 1080: Contrapunctus XIV (fragment) - Charles Rosen

Customer Reviews:

A sublime sewing Machine.......2000-06-27

In 1960 Rosalyn Tureck published a tutorial KIT for Bach beginners comprising of a book Named "An introduction to the performance of Bach" (Oxford University Press) and a set of corresponding LP's (EMI ALP 1747).
Later in the 80's she recorded those peices again and here they are whitout any reference (cover, inlay notes etc..) to the original project.
The selections originate from the Wilhelem Freideman book (WF) , the Anna Magdelena and other sources. The WF book was Bach own perception on tutorial kit, assigned to his son. The First track, the Applicato, is Bach only survivng peice with full fingering. The performances are very didactic, note the 2 performances of the first invention with\without the triplets.
Also, The Rosen recording is worth to be published as a separate recording.

Bach By Two Of The Best.......2000-01-23

If is quite fashionable to fall all over Tureck's Bach these days, and to an extent such falling is justified (not always, though). Here the praise is very much justified. Her program consists of The Italian Concerto and various minuets, inventions and suites. They are well suited to her measured, contemplative style of playing. For me, this is some of her best work on disc.

The second disc is Charles Rosen's Art of the Fugue. Rosen is somewhat forgotten today, but in the late 60's and early 70's he produced an outstanding set of Beethoven's late sonatas and a wonderful Goldberg Variations. This effort in The Art of the Fugue confirms my opinion of him as being first rate in Bach. Much like Jeno Jando, Rosen is very direct and straightforward, with brisk tempos throughout...and in great contrast on Tureck's measured, contemplative style.

Tracks:

Op. 122, No. 5: Chorale Prelude: Schumcke dich, o liebe Seele
Air
Prelude On The Welsh Hymn Tune 'Rosymedre'
Pastorale On 'Forest Green'
Prelude In E-Flat Major
BWV 731: Chorale Prelude: Liebster Jesu, wir sind hier
Adagio (For Glass Harmonica) K. 356
Sonata I in F Minor, Op. 65: Adagio
BWV 647: Choral Prelude: Wer nur den lieben Gott lasst walten
Cantata No. 147: Jesu, Joy of Man's Desiring
Aria
Lotus (Lotus Blossom)
Irish Air From 'County Derry' (Londonderry Air)
Jerusalem, My Happy Home
Suite in D: Air On The G String
Adagio In E Major
The Good Shepherd
Op. 18, No. 10: Magnificat I
Symphonie Gothique, Op. 70: Andante sostenuto

Tracks:

Fiori Musicali: Toccata per l'Elevazione
Chorale Prelude: Meine Seele erhebt den Herren
Prelude And Fugue In F Minor, Op. 7, No. 2
Canon In B Major, Op. 56, No. 6
Pieces de Fantaisie, Op. 53: Clair de lune
Vocalise
Pieces en style libre, Op. 31: Berceuse
Strings, Op. 11: Adagio
Meditation
Sonatina: Very Slowly
Trois Paraphrases Gregoriennes: Ave Maria, Ave Maris Stella
Chant de Paix (Song Of Peace)

Customer Reviews:

One of my most-played CDs.......2005-10-13

This is one of my most frequently played CDs. I find it perfect background music for meditation, prayer, reading and other tasks, as well as a good CD that doesn't disturb people at work.

This is not intended to be organised as a church service or a concert performance per se, but rather, as the co-producer Carol Rosenberger states, 'this album is meant to recreate an experience many of us have treasured: slipping inside the doors of a cathedral and finding oneself alone in a vast, quiet space with light streaming through stained glass windows. The organist begins to play gentle music, and one is lost in contemplation...'

As a churchy person, I've often had the experience of working or sitting in an empty church while the organists or their students practiced. This recording in many ways reminds me of that experience. Of course, our organ is a far cry from the pipe organ in Atlanta's Cathedral of St. Philip, with over 5000 pipes (and our church does not have a 5-second delay reverberation, either), 4 manuals and 96 ranks. This Aeolian-Skinner organ is a genuinely stunning instrument, but as with any instrument, it takes the right performer to bring out the fullness of the sound from it.

Todd Wilson is just such a performer. His playing is solid and well-suited for this task, with occasional flashes of brilliance. Mozart's 'Adagio', Bach's 'Jesu, Joy of Many's Desiring', and Barber's 'Adadio for Strings' (here arranged for the organ) are truly wonderful pieces. The programme here is a diverse collection of pieces from Baroque, Renaissance, and later pieces, including folk tunes and a few modern compositions. Todd Wilson is a church organist and music director at Church of the Covenant in Cleveland, Ohio (a city with not insignificant music resources and life), and is also head of the Organ Department at the Cleveland Institute of Music. He has had an international performance and recording career.

I applaud the decision to make this a double-disc set - the producer writes that there was just too much good music to limit the selection. Thus, there is a method to the organisation, given the availability of two discs. The first disc has more simple pieces, easily recognisable melodies and well-known hymn/sacred pieces. The second disc has a bit more complexity of music.

There is a booklet that is particularly designed for young people, so that they may become more familiar with the organ as an instrument, and this type of music.

This is a truly wonderful recording.

One of the best sets of organ works.......2005-02-20

This is a superb set of organ works. Strongly recommended.

Mystic!.......2003-12-28

The Æolian-Skinner organ in St.Philip's Cathedral, Atlanta is the finest example on Earth of eclectic organ...and the last- really-marvellous instrument erected by this firm. Flutes and Erzählers speak directly from Heaven...and the organ, despite electric, seems to have tracker action! Listen to Bach's BWV 731 and 648: they sound like played on a Silbermann instrument!
Todd Wilson is a delicate musician, a poet of the organ and a genius in the choice of the stops.
Buy also the other recordings of this Æolian-Skinner by Robert Delcamp (Naxos) and Alan Morrison (Gothic)...and don't forget that Michael Murray recorded in St.Philip's Cathedral for Telarc the finest rendition of Poulenc's "Concerto in sol minore per organo, archi e timpani" under the direction of the late Robert Shaw.

By All Means Get This CD.......2003-09-06

I found this wonderfully relaxing CD above and beyond my expectations. Do you enjoy organ music, then listen and explore the sacred music of J.S. Bach. This music will relax you: keep your muscles relaxed as you work on a time deadline for a large project, or doing some casual items around the house.

To be fair..........2003-04-04

The hiss that one reviewer refers to is undoubtedly the organ's wind supply. The wind can be heard on most organ recordings.

Rosalyn Tureck plays Bach: The Great Solo Works

Average customer rating:

Tureck's best
A Great Sampler of Bach's Keyboard Works

Rosalyn Tureck plays Bach: The Great Solo Works

Manufacturer: Video Artists Int'l
ProductGroup: Music
Binding: Audio CD

Fantasies | Forms & Genres | Classical | Styles | Music

Fugues | Forms & Genres | Classical | Styles | Music

Toccatas | Forms & Genres | Classical | Styles | Music

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

Caprices | Vocal Non-Opera | Opera & Vocal | Styles | Music
Similar Items:

Bach: The Great Solo Works, Vol. 2
Rosalyn Tureck plays Bach
Bach: Goldberg Variations
The Young Visionary: Bach Recital, New York, 1948
Bach: The Keyboard Album

ASIN: B000003LJD
Release Date: 1994-05-02

Tracks:

Prelude & Fugue in B Flat Major, BWV 866: Prelude
Prelude & Fugue in B Flat Major, BWV 866: Fugue
Aria & Ten Variations in the Italian Style, BWV 989: Aria
Aria & Ten Variations in the Italian Style, BWV 989: Variation 1
Aria & Ten Variations in the Italian Style, BWV 989: Variation 2
Aria & Ten Variations in the Italian Style, BWV 989: Variation 3
Aria & Ten Variations in the Italian Style, BWV 989: Variation 4
Aria & Ten Variations in the Italian Style, BWV 989: Variation 5
Aria & Ten Variations in the Italian Style, BWV 989: Variation 6
Aria & Ten Variations in the Italian Style, BWV 989: Variation 7
Aria & Ten Variations in the Italian Style, BWV 989: Variation 8
Aria & Ten Variations in the Italian Style, BWV 989: Variation 9
Aria & Ten Variations in the Italian Style, BWV 989: Variation 10
Chromatic Fantasia & Fugue, BWV 903: Fantasia
Chromatic Fantasia & Fugue, BWV 903: Fugue
Capriccio on the Departure of a Beloved Brother, BWV 992: Friends gather and try to dissuade him from departing
Capriccio on the Departure of a Beloved Brother, BWV 992: They picture the dangers which may befall him
Capriccio on the Departure of a Beloved Brother, BWV 992: The Friends' Lament
Capriccio on the Departure of a Beloved Brother, BWV 992: Since he cannot be dissuaded, they say farewell
Capriccio on the Departure of a Beloved Brother, BWV 992: Aria of the Postilion
Capriccio on the Departure of a Beloved Brother, BWV 992: Fugue in Imitation of the Postilion's horn
Fantasia in C Minor, BWV 919
Adagio in G Major, BWV 968
Toccata, Adagio & Fugue in D Major, BWV 912: Toccata
Toccata, Adagio & Fugue in D Major, BWV 912: Adagio
Toccata, Adagio & Fugue in D Major, BWV 912: Fugue

Customer Reviews:

Tureck's best.......2007-07-15

Tureck dispenses with reserve and gives an all or nothing, risk everything performance of spectacular depth and joy. She draws out the pieces' modernist traits and reveals an expansive majesty more normally heard in Liszt and later composers. Now and then, I had to remind myself that this is Baroque keyboard, not late Romantic or 20th Century! Passionate, brilliant and truly memorable.

A Great Sampler of Bach's Keyboard Works.......2001-01-28

Though many pianists have played Bach, and some - such as Andras Schiff and, more recently, Murray Perahia - have played Bach well, many lovers of Bach believe that only two pianists have been able to capture the true essence of his keyboard music - Glenn Gould and Rosalyn Tureck.

In this CD, Ms. Tureck plays a wide range of Bach's keyboard works that shows the various dimensions of Bach's writing. She plays the Prelude and Fugue from Book I of the "Well Tempered Clavier" with the clarity and precision that allows the listener to hear the beauty of these carefully-crafted masterpieces. In the Chromatic Fantasia, BWV 903 and Toccata BWV 912, Ms. Tureck captures Bach's famous gifts as an improviser. In the "Capriccio on the Departure of a Beloved Brother," she evokes the strong emotional content of Bach's music, which one often hears in his choral music but too rarely in his keyboard works.

Customer Reviews:

Another Splendid Furtwangler Box in Original Masters Series.......2004-12-29

Let me start by saying it took me a while before I began to fully appreciate Wilhelm Furtwangler as a conductor. When I began collecting classical CDs, I realized early on that I preferred vintage stereo recordings to newer digital performances. However, historic mono recordings were a horse of a different color. I just couldn't select something that didn't sound very good as my one and only version of a given piece, even if it meant scrapping something as amazing as Furt's Beethoven 9th. But don't worry I have since come to my senses -- first, why own only one of a given work, and two, Furtwangler is indeed one of the master conductors of the 20th Century. And while I don't own dozens of his discs, I do now consider some of his recordings to be the best representations available (Schubert 9th, Schumann 4th -- see my reviews), despite the mono sound.

Anyway, recently I've picked up both of the Furtwangler Box Sets in DG's Original Masters series, and I certainly feel they were worthwhile purchases (and terrific values to boot). This latest set, "An Anniversary Tribute," features five discs of music and one interview disc (in German of course, rats!) in performances ranging from Bach and Gluck to Strauss' "Metamorphosen." However, serious Furtwangler fans should be aware that several of these selections have been available previously, and may duplicate their collection. In particular, there is a 1944 Bruckner 9th, most recently OOP on the Music & Arts label and fetching ridiculous prices in the Amazon Marketplace (thankfully, sanity is now restored), and a 1952 Brahms 1st available on DG 415 662-2, among others. Also of note, now that UNI owns both DG and Decca, there is a 1951 Schumann 1st with the Vienna Philharmonic that was originally released on Decca but is now included in this "DG" set. All in all though, this is another first rate set in the "Original Masters" series.

CANTEMIR : Music in Istanbul and Ottoman Europe around 1700

Average customer rating:

Cantemir, Great Sultan, Louis XIV and Peter the Great
Worth exploring, but...
Excellent

CANTEMIR : Music in Istanbul and Ottoman Europe around 1700

Manufacturer: Golden Horn Records
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

General | International | Styles | Music

Turkey | Middle East | International | Styles | Music

General | Opera & Vocal | Styles | Music

French | Languages | Opera & Vocal | Styles | Music

Experimental Music | Miscellaneous | Styles | Music

International Folk | International | Indie Music | Stores | Music
ASIN: B0001CVE8E
Release Date: 2004-01-30

Tracks:

Syrba - Moldavian Dance
Syrba - Moldavian Dance
Beraber Taksim - Collective Improvisation
Zhok de Nante - Moldavian Dance
Ostropesul - Moldavian Dance
Syrba with Taksim - Moldavian Dance
Bestenigar Taksim - Improvisation
Pesrev in makam Bestenigar - Dimitrie Cantemir
Tanbur Taksimi - Improvisation (tanbur solo)
Saz Semaisi in makam Neva / usul aksak semai (10/8) - Dimitrie Cantemir
Saz Semaisi in makam Rast / usul aksak semai - Dimitrie Cantemir
Syrbas - Moldavian Dances
KemenTaksimi - Improvisation (kemensolo)
In Honor of Prince Kantemir - Lou Harrison
Beraber Taksim - Collective Improvisation
Andante (from Concertino per Kemance, Violino Picolo 5 Instruments, 'In Honor of Kantemiro, 2000) - Yalcin Tura
A Turkish Air (Travels and Observations, 1738) Thomas Shaw (1694-1751)
Marche a la Turque (Pis de viole, Book V, 1725) Marin Marais (1656 - 1728)
Marche pour la cmonie des Turcs (Le Bourgeois Gentilhomme, 1670) J-B. Lully (1632 - 1687)
The Turks' dance (Augurs, 1622) Ben Jonson (1572/3 - 1637)
New metar (The Dancing Master, 1665) John Playford (1623 - 1686)
Rast Taksim - Collective Improvisation
Pesrev in makam Rast / usul berefsan (16/8) Dimitrie Cantemir
Zhok de Nante - Moldavian Dance
Penh Taksim - Improvisation (kemensolo)
Saz semaisi in makam Penh / usul aksak semai (10/8) - yemai (6/8) - Bulgariaska (Floria 16) - yemai (6/8) - aksak semai (10/8) Dimitrie Cantemir and Moldavian Dance
H Taksim - Collective Improvisation (kemen baroque flute)
Pesrev in makam H - Dimitrie Cantemir
Buselik Taksim - Collective Improvisation
Pesrev in makam Buselik / usul devr-i-revan (14/16) Dimitrie Cantemir

Album Description

CANTEMIR honors the amazingly rich life of Prince Dimitrie Cantemir (Kantemiroglu, 1673-1723), born in Moldavia (now Romania) but educated in Istanbul, becoming during his many years at the heart of Ottoman culture a master musician, composer, linguist, and lexicographer. Sent home eventually to rule Moldavia as the representative of the Ottoman Empire, Cantemir betrayed the Sultan by attempting unsuccessfully with the aid of Tsar Peter the Great to liberate his people. In defeat, he fled with his court into exile in Russia.

Featured on the disc is Ihsan Ozgen, Linda Burman-Hall and the ensemble Lux Musica, in compositions in Ottoman classical style by Prince Cantemir, first recordings of new music honoring Kantemiroglu by Lou Harrison and Yalcin Tura, traditional and experimental improvisations, and Moldavian dance music. Ihsan Ozgen plays kemence (Turkish fiddle) and tanbur (Turkish lute). Linda Burman-Hall is playing early keyboards and bendir (frame drum).

Customer Reviews:

Cantemir, Great Sultan, Louis XIV and Peter the Great.......2006-07-30

Firstly, I want to thank Lux Musica and Ihsan Ozgen for recording such a beautiful exquisite album.
Moldavian prince Dmitrie Cantemir stood on cross-roads between the West, Russia and the Orient on the turning point of history - end of the 17th - beginning of 18th centuries. Philosopher, musician and musicologist, orientalist and politician - charismatic and interesting person.
Ihsan Ozgen and Lux Musica decided not to re-create authentic Turkish folk sound of Kantemir`s music, but to incorporate fantastic sound of Turkish string instrument kemence, which reminds crying human voice, and other Turkish instruments into the European ensemble Lux Musica (flute, violin, viola, lute, early guitar, percussion, harpsichord, virginal). Idea is to present the music by Kantemir as synthesis of European and Oriental cultural traditions, to imagine real concerts of his daughter Maria (who played harpsichord) in the court of Peter the Great in Russia, and to describe the cultural context of Kantemir`s music.
You would hear music by Kantemir himself, European "Turkish" style melodies of the 17th century by Lully (melody for famous play by Moliere "Le Bourgeois Gentilhomme"), Marin Marais, Ben Johnson, Moldavian folk dances - so this programme wouldn`t be boring for you. I don`t agree with the previous reviewer - to listen to whole CD of authentic Turkish material - it`s a real hard work for European, Russian or American lover of classical music. That`s why I think that Ihsan Ozgen and Lux Musica were right.
So listen to this beautiful music and read a good novels by modern writers devoted to problems of relationships between Orient and Occident - try works by Amin Maalouf, Orhan Pamuk, Milorad Pavic.

Very beautiful album!

P.S. Addition to the text in the booklet. There stated that "Kantemir betrayed Sultan". Let`s be objective - history was more sophisticated. Don`t forget that Kantemir lived in Istanbul as the hostage to guarantee the loyalty of his native Moldavia to the Ottoman Empire. As he wrote in his memoirs, when he was selected by the Sultan to be a ruler of Moldavia, he was informed that he should make a "gift" to the Court - to pay a sum of money. And the sum of this "gift" was very high. Kantemir understood that he should raise the taxes in Moldavia to collect this money. So the choice was - to betray Sultan or to betray his native people. Ruler of Vallachia (modern Romania) sent a letter to Kantemir and invited him to join the revolt of the Orthodox Christians against the Ottoman rule. They secretly asked Tzar Peter the Great to help them. But when the Russian troops started their expedition, Vallachian ruler, who provoked Kantemir, informed Sultan about this revolt and of course rejected to participate in it. So Kantemir in 1711 had no other choice than to join Russian troops and after the unglorious end of this expedition (there were no any revolt) - Kantemir with his family fled to Russia. His life was saved by Peter the Great, because Ottoman powers demanded to return Kantemir to them (of course he would be killed) as condition of peace treaty with Russia.
His son Antoich became Russian poet and diplomate. In Paris he was close to writers and poets of the French Enlightenment.

Worth exploring, but..........2004-08-07

If you're coming to this out of curiosity, rather than as an Ottoman music fan, you may be more pleased with this disk than I was.

The best compositions here are those of Cantemir, the master himself. The folk dances are interesting, but they aren't on the same level of refinement. Cantemir was at the peak of a learned tradition. The juxtaposition with folk material might be justified if Cantemir had drawn on it for his compositions, but that's not the case; we're simply told that the peasants back near Cantemir's home in what is now Romania were playing these dances while Cantemir was off in Constantinople playing his stuff for the sultan. And the point is...? I would have preferred a disk purely of Cantemir pieces.

The music is well played, but I'm not totally sold on the mixture of eastern and western instruments. Obviously, it isn't authentic, but that isn't the problem; sometimes the mixture of instruments just doesn't work. One glowing exception is the neva saz semai, where the tanbur and harpsichord blend quite nicely.

Don't get me wrong; it's worth a listen. But if you already know the Ottoman classical tradition and some of Cantemir's works, be sure you know that you're getting an experimental "fusion" disk, not something traditional.

Excellent.......2004-03-27

This CD finally opens the long forgotten bridge to the early Ottoman music. Although in recent albums (for example, in "Dream of the Orient" by Concerto Koln and Sarband) there are some fine examples of Cantemir's work, this single album is fully dedicated to him.

The examples are carefully chosen to present early Ottoman and Cantemir's own music. The addition of the music from the composers of the West (some are recent, in honor of Cantemir), showing the influence of the Turkish music, is very nice and complementary.

Cantemir, as might be known, is the first musician/traveler/diplomat (and later a trouble maker) from Romania, who recorded the Ottoman music while he was living in the Ottoman lands for near twenty years.

Followed by composers such as Fux, Mozart, J. and M. Haydn brothers, Beethoven, Gluck, Rossini and many others, the Turkish music, its musical instruments (drums, cymbals and triangle, etc.) and themes became the most influential regional effect on the Western classical music for a few centuries.

Tracks:

Violin Concerto In C Op.48: I. Allegro
Violin Concerto In C Op.48: II. Andante
Violin Concerto In C Op.48: III. Vivace Giocoso
Russian Dance (Swan Lake)
Violin Concerto In D Op.35: I. Allegro Moderato
Violin Concerto In D Op.35: II. Canzonetta (Andante)
Violin Concerto In D Op.35: III. Finale (Allegro Vivacissimo)

Tracks:

Schon Rosmarin
Liebesleid
Liebesfreud
Violin Concerto In D 'Adelaide' (In The Style Of Mozart) KAnh.294a1: I. Allegro
Violin Concerto In D 'Adelaide' (In The Style Of Mozart) KAnh.294a1: II. Adagio
Violin Concerto In D 'Adelaide' (In The Style Of Mozart) KAnh.294a1: III. Allegro
Violin Concerto In D Op.61: I. Allegro Ma Non Troppo
Violin Concerto In D Op.61: II. Larghetto
Violin Concerto In D Op.61: III. Rondo (Allegro)

Tracks:

...Inspired By The Classics: Salut D'amour
...Inspired By The Classics: Lullaby
...Inspired By The Classics: Air On The G String
...Inspired by Cinema: My Favourite Things
...Inspired by Cinema: The Pink Panther
...Inspired by Cinema: Les Parapluies De Cherbourg
...Inspired By Pop Culture: One Moment In Time
...Inspired By Pop Culture: Yellow Submarine
...Inspired By Folk Culture: Frere Jacques
...Inspired By Folk Culture: La Campanella
...Inspired By Folk Culture: Chinese Folk Tune
...Inspired By Folk Culture: Tambourin Chinois
...Inspired By Opera: Figaro
...Inspired By Opera: Summertime
...Inspired By Opera: Concert Fantasy On 'Carmen' Op.25
...Inspired By Opera: Fantaisie Brillante On Themes From Gounod's 'Faust' Op.20

Customer Reviews:

Unnecessary.......2001-04-18

While it would be, of course, somewhat unfair to rate this CD recording of some of the world's most famous pieces for virtuoso violin the same way one would for a mature, older artist's recordings, it is horrendous marketing strategy on the part of Sony Classical to release this three CD set on the premise that they are "brilliant," as stated on the back of the CD case. They are anything but, as a quick listen to any one of the three CDs will reveal to the discerning ear.

The first two CDs are mainly concerned with Mae playing the Kabalevsky, the Tchaikovsky Concerto in D, and the Beethoven Concerto in D -- all highly acclaimed pieces aimed at showing off not only the speed, strength, physical and mental endurance of the violinist, but also, certainly, the tone production and "fingers," as Sarah Chang would have liked to put it. Mae fails on almost all the above counts. While she professes to have a high degree of passion for the Tchaikovsky and the Beethoven (Mae gushes about learning them by heart long before her instructor had the chance to teach them to her), the pieces are a great disappointment. The first thing to jarr the ear is her tone (a scratchy, unconfident, and extremely tinny one, at that) and, rather surprising, her lack of capability at pulling off the cadenzas. It is beyond anyone's understanding how the then young Mae's speed and technical accuracy could be so highly acclaimed as they are by some quarters when she falters and stumbles along the notes, mainly in the higher registers. This is most apparent in the extremely poor playing of Sarasate's Carmen Fantasy, where she sometimes lags behind the entire orchestra by a few wrenching notes as she struggles to catch up and keep in tempo.

The pieces on the Virtuoso Album CD aren't worth much -- colourless, soulless renditions of miniatures that have been performed better by countless of other violinists, at every measure of age (Chang does a splendid job of the Carmen Fantasy, and she recorded it in the studios when she was only nine years old).

The only redeeming piece of the entire three CD set I can think of must be the Russian Dance from Swan Lake. Although her bowing is rarely, if ever, confident and full, her thin, wavering vibrato ever used effectively, she opens the piece with a vigour that isn't seen in any other of the pieces.

It is rather unfortunate that Mae has never really progressed far, classically -- a look at her later recordings (the Classical Collection 2) and her live performance at the Royal Albert Hall (where the Shostakovich Piano Trio No. 2, Moses Variation on a G String, and a few others were played) drives the point home painfully. I am a fan, of course, but not one of her classical side -- the techno-pop-fusion music masks her flaws well enough to allow one to forget that one is listening to a very mediocre violinist at work.

Vanessa-Mae as a Child Prodigy at 12 and 13.......2000-11-14

Vanessa-Mae: is the beautiful young Singaporean violinist with her flowing hair, gorgeous figure, pop star clothes, electric violin, laser and light shows, websites, and rock band just a media creation, or is she instead a modern-day Pagannini or Liszt, a true virtuoso with a flair for showmanship? In other words, can she play? This three CD set of her early recordings, made when she was only 12 and 13 years old, answers the question authoritatively. Although there are, of course, some flaws, the fact remains that even at this early age Vanessa-Mae was a stunning performer. At thirteen she played better than many profession musicians have at thirty, myself included. Listen, for example, to the stunning beginning of Sarasate's Concert Fantasy on `Carmen".

There is a certain tension between the interpretations of the soloist and the conductor occasionally, especially when Vanessa-Mae wants to play faster than the conductor will allow. This is in fact my biggest criticism of the recording; but these ego wars are not only the bloodiest but also the most common of musical slaughterhouses, and it is no surprise that such a young performer would get caught up in it. Otherwise, the performance is terrific--intonation is impeccable, interpretation confident. In particular, Vanessa-Mae has a commanding technique in the highest range, where her tone absolutely soars. Only very rarely, and then only at the very end of a rising run, does her intonation slip slightly. And she varies her style appropriately to suit the music--at the time of this recording she'd not yet gotten to playing Vivaldi with a rock band. In Fritz Kreisler's Schon Rosmarin, I can practically see her in a ball gown with her hair up in ringlets, performing this for the Viennese elite at a society soiree. It seems appropriately schmatzy to me, and it provides a link between the Classical and popular sides of Vanessa-Mae featured in this collection.

The set consists of three CDs, the first the Russian Album, the second, the Viennese Album, and the third, the Virtuoso Album. This last title is somewhat curious, as only two-thirds of the way through do the selections take a virtuoso turn. Otherwise, they are pops and light classics that are not at all demanding of the performer. This CD has a theme of inspiration from various sources, and the selections are categorized as "inspired by the classics, inspired by cinema, inspired by pop and folk culture, and inspired by opera" and include such things as arrangements of Brahms Lullaby, Mancini's theme to The Pink Panther, and Richard Rogers' My Favorite Things. Unfortunately, the Beatles also make an appearance--I love the Beatles, but Lennon and McCartney's Yellow Submarine is a testament to the perils of drug use. Whatever fondness society has for this piece--and I know they do, as my 10 year old daughter is learning it on recorder for her music class at school--this affection must come from our memories of youth, the fun of the 70's and the association of the imaginative animation by Peter Maxx of the movie, perhaps even the symbolism, arcane as it may be, of the text. Objectively, though, the tune is as trivial and banal as anything ever written, and here it gets turned into a sort of mini-violin concerto. Call the Blue Meanies and the Apple-Bonkers to put a stop to that!

But the other performances and pieces on this CD more than make up for this miscue. The first CD features Violin Concerti by Kabelevsky and Tchaikovsky, and Beethoven's violin concerto is featured on the second CD with a gorgeous performance. Vanessa-Mae clearly *can* play--she is much more than just a media creation. This collection, a portrait of the artist as a young woman, proves the point admirably.

Vanessa-Mae as a Child Prodigy at 12 and 13.......2000-11-14

Great early recording.......2000-11-11

I should of course first disclose that I do not know very much about classical music, but as far as I can tell this is a fantastic recording.

This 3-cd set is a reissue of the early classical recordings that Vanessa-Mae made before crossing over into pop. It is a fantastic set because it offers a wide range of music: Tchaaikovsky, Kreisler, Beethoven, Paganini, Sarasate, Bach, Brahms and others. Vanessa-Mae's playing is fantastic throughout. I have always felt that she is a much stronger classical than pop player -- she really does not bring much uniqueness to pop music (just electronic supporting instruments) -- however, her remarkable classical mastery is easily evident even to an inexperienced person like me.

Tracks:

La Vida breve: Spanish Dance No. 1
El sombrero de tres picos: The Miller's Dance
De los alamos vengo, madre
Ciranda No.1: Terezinha de Jesus
El Paoruno
Danza de la pastora
Danza de la gitana
Song Of The Will - o' - the - wisp From El Amor brujo
Intermezzo From Goyescas
Prelude And Fugue No. 4 In E
Prelude And Fugue No. 4 in E
Hymn Of Christian Joy (Prelude In Classic Style)
Prelude (In The Baroque Style)
Sanctify Us By Thy Goodness
Offertorio
Canon
Four Renaissance Pieces: Le Rossignol
Four Renaissance Pieces: Drewies Accordes
Four Renaissance Pieces: Watkins Ale
Four Renaissance Pieces: La Volta
Berceuse From Dolly Suite
An Old Music Box
Evening Dance

Customer Reviews:

"Nothing is more beautiful than a guitar, save perhaps two," ..........2005-10-24

wrote Frederic Chopin. Those who enjoy classical guitar music find special pleasure in duets. The repertoire for duets is less frequently played, yet offers more possibilities for textural and harmonic effects than solo guitar. In such capable hands as Christopher Parkening and David Brandon, few musical experiences could give greater listening pleasure.

This album is, sadly, no longer in print and thus makes it even more collectable. Please buy this CD before you loose the chance to hear some the most beautifully played classical guitar duets ever recorded.

Parkening and Brandon Duo.......2001-12-14

This duo plays very well; however, the best tracks of this CD are on the Parkening "Great Recordings" double CD. Thus buying that CD would get you the best of this CD plus a lot of other good recordings. The duo's performance of "La Vida Breve," "Intermezzo," and "Evening Dance" are my favorites (and are included on the "Great Recordings" CD).

Music Review:

Music Review

music review

Music Review

The World of Progressive Trance, Vol. 2 [Import]

Béla Bartók: String Quartets 3, 4 & 5

Bach: The Great Preludes & Fugues, Vol. 2

Complete Trumpet Kings Battle: Studio Sessions [Import]

Birth (Score) [Soundtrack]

Bailamos Tia

Between The Buttons [Original recording remastered]

Barbican

African Renaissance, Vol. 7: Mbube

Brahms: Secular Choral Works

An Evening For You

35 Aniversario Con Sus Invitad

Miracle [Explicit Lyrics]

Riley: The Book Of Abbeyozzud / Tanenbaum, Silverman, et al

Had to Cry Today